Exercise 1: Temporary Drawing: Part 1

My first attempt is a drawing which I did with my cell phone of this tree etched against the sky. I filmed it moving the camera up and down on a time lapse setting. Unfortunately the video wont load here but it did teach me to look in a different way - I enjoyed the black, sketchy almost charcoal like marks the rapid movement with the camera made. Is it drawing? I wondered about this... see - the shape became swift and distorted and almost fluid-like. It made me think about time lapse in general and how we see the world as solid only because it is slow. Speeded up all would be a blur of light and energy, movement. No definite lines and then, even faster maybe only that - a line. Kinda circular and meaningless really, but I am getting beyond myself now!

The second is found leaves twigs and sand. I loved that it reflected texture, nature, I also loved being able to walk away from it and know that it would be gone tomorrow - it was freeing. I wouldnt be able to look at it again and judge it. It was there for the moment perfect. Maybe only my eyes saw it...

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Sketchbook

I'm finding the discipline of drawing everyday so beneficial ; I look forward to the time when I can settle down and do it.. And I can see growth. The first one is of my supper and the second a dead bird I found in the woods. #adelefoucheart

Project 2: Exercise 3: Creating Shadows with lines and marks.

Did a lot of practice here before I attempted the exercise. What I learnt here is that implied lines are enough and by not outlining the objects a looser, softer and yet "more real" effect is obtained. This is interesting to me - is it because the brain completes the picture and is therefor more involved in the process and is then more invested in being interested in the painting?! This was 4B pencil. This is some of the practice. Got bored so the bottom 2 ain't great...

Project 1: Research Point: Atmospheric Potential of Tone/Odilon Redon

Odilon Redon is one of my favourite artists. I enjoyed discovering his lithographs and works in charcoal, having only ever seen or known of his later paintings. My research shows that until the middle of the 1890's, Redon devoted himself primarily to his graphic work, engravings and drawings, and notably to the noirs : unusual and precious charcoal drawings, which he exhibited in Paris for the first time at the beginning of the 1880. He explained his discovery of charcoal in a letter published by the magazine L'Art Moderne in June 1894, under the heading "Confidences d'Artiste" (Artist's Secrets). "This everyday substance, which has no beauty of its own, aided my researches into chiaroscuro and the invisible. It is a neglected material, scorned by artists." 1. It is his use of value (or tone) in his noirs that really express the use of atmospheric tone to be studied here. In much of the work a considerable amount of dark tones can be seen ...

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